Is there a more magical moment in this era of Disney Animation (considered a bit of a dark time, if you must know) than the illustration of Alan O’Dale as a Rooster, coming to life on the page and explaining the conceit of this film, that it’s the animal kingdom’s version of Robin Hood, and singing, “Robin Hood and Little John, walking through the forest, Ood-a-laddy, Ood-a-laddy, Golly what a day!”? I can’t think of one, but I’m only two movies in. (I figure from The Aristocats to Oliver And Company)
I loved this one too. It’s funny how as we movie closer to the time I’ve been alive (this is still a good 14 years before my birth) I’m starting to like more of the movies, rather than the previous every other. We’re not quite in my exact zone of nostalgia yet, that hits with Oliver and the so called Disney Renaissance, but I still watched these ones more as a kid than the early films.
Anyway, Robin Hood is a delight, the meta conceit that we’re seeing a version of the legend told over again, it’s a story about stories in it’s way, and it’s also got some fun character designs, even if they are mostly recycled, and the music is cute and catchy.
The love story feels reasonably organic, if cut off abruptly because the final set piece of rescuing the townsfolk gets in the way, but I still love Robin and Marian’s walk through the woods after the tournament, and the accompanying song, “Love,” which I thought was the most romantic thing in the world when I was little.
Unlike a good number of my generation and ilk (nerdy queer folks) I’m reasonably sure that Robin Hood did not turn me into a furry, largely because I am not a furry, but I can totally see why if you were inclined that way this movie would awaken it, because DAMN, that fox is ATTRACTIVE. Which is to say, I do agree that Disney made us all into a bunch of weirdos. (I blame my wild obsession with musical theater and poofy princess dresses on the company.)
Next week we talk about The Rescuers and their adventures in children saving and super 70s soundtracks.